This sequel doesn’t merit a sing-along and does little to expand on what we already knew about Moana and her friends.

Brad Peyton oversees a futuristic action thriller that frequently plays like a clone of other cautionary tales about AI – but those movies, shows, games, and books don’t have Peyton’s secret weapon: Jennifer Lopez. She’s able to command the screen, bicker with software programs, and sell a convincing heroine’s arc from behind a mech-suit’s windshield.

The more The Watchers comes together, the less interesting it becomes. It’s a puzzle best left unsolved.

Arcadian is an effective creature-feature B-movie that gets the job done in under 90 minutes.

The Super Mario Galaxy Movie ditches an engaging story in favor of a pipe-bursting amount of Easter eggs, but that’s not an all-together bad thing.

The premise is interesting, some of the scenes are nicely shot, and the acting – especially that of Nikolaj Coster-Waldau and Fanny Bornedal – is believable. Unfortunately, it's also weighed down by predictable twists and lackluster thrills.

The subplot involving the production of a simulated, backup lunar expedition never quite takes off, comedically speaking, but there’s plenty of appeal in pairing an uncommonly bubbly Scarlett Johansson with an agreeably earnest Channing Tatum.

The American remake of Speak No Evil mostly recaptures the squirmy dread of its shocking Danish inspiration… until it doesn’t.

Josh Hartnett anchors Trap with a great performance as a serial killer penned in at a pop concert, but M. Night Shyamalan’s latest film falls apart in its third act.

Coming off the triumph of its extension into TV with Cobra Kai, The Karate Kid franchise returns to theaters with Legends, a movie which is far less impactful than that show, yet still reminds us why the underlying story and themes of this series can still connect.

This buddy comedy lives or dies on your affection for its stars, offering complementary shades of good-natured Bostonian ineptitude.

M3GAN 2.0 hotswaps horror for sci-fi/action to mixed results, but M3GAN’s absolutely heinous wit and killer moves leave her, and not the new genres, the star of the show.

Den of Thieves 2: Pantera is neither better nor worse than the sleeper-hit crime caper that preceded it. Like the original, it’s too long and threatens to become overwhelmed by its own web of underworld intricacies. Nonetheless, with appealing chemistry between stars Gerard Butler and O'Shea Jackson Jr., and a suitably tense third-act heist sequence, it rewards the goodwill the original has built up since its 2018 release.

Though it features delightfully weird visuals and a stellar turn by Kathryn Hunter, The Front Room can’t find its identity, both on-screen and in its own marketing.

There's an endearing, homestyle warmth to the kooky sci-fi dramedy. Think Joe Swanberg's "Mumblecore" roots by way of Charles Band's late-night horror schlockiness – and I mean that with love.

The combination of gore and complex characterization can be uneven from scene to scene, but the filmmakers’ unique qualities and perspectives give it more personality than your average low-budget creature feature.

After a strong first act, The Conjuring’s intended finale disappoints, keeping its central duo of Ed and Lorraine away from the action for too long.

A modest French sci-fi fable whose messages about letting go aren’t half as moving as the images surrounding them.

The setup of the mystery is more satisfying than its payoff, and the film breaks down into an uninspired grab bag of contemporary horror influences.

Despite its ultra-low-budget trappings, Hellboy: The Crooked Man is a fun, competent adaptation that offers up a healthy dose of Evil Dead-style supernatural action.

The Lord of the Rings: The War of the Rohirrim is a fascinating idea with a lackluster execution, more interesting as a concept than an actual retelling of one of Middle-earth’s famous legends.

Better jokes, better imagery, and two (!) inspired comic performances by Jim Carrey give this Sonic sequel an edge on its predecessors.

Leigh Whannell’s Wolf Man is impeccably made, with a unique take on werewolf lore. But the emphasis is on craft over storytelling.

Wicked: For Good brings Jon M. Chu’s movie-musical duology to a climactic conclusion that’s dark in every sense of the word. With harrowing action scenes, heart-wrenching musical numbers, and excessively dimly-lit scenery, this sequel compounds all of the problems of the first movie while introducing some wholly new ones of its own. Dual leads Cynthia Erivo and Ariana Grande are as luminous as ever, electric whenever they’re sharing the screen together, but there’s a lot of movie to slog through to get there.

The "live action" footage simply looks "blah" when interacting with the animated characters. It breaks apart the look of the movie, and really hurts it.

Frothy, self-aware, and straining for laughs, Hot Frosty is a cup of whipped cream with no hot chocolate.

From the sincerity of the lead performances to the cartoonish gore offered by Werewolves Within director Josh Rubenn. There are much worse ways to spend Valentine’s Day than a genre cocktail for saps and gorehounds alike.

It can’t decide whether it wants to tell the real-life story of respected mob boss Frank Costello and his comrade-turned-scheming-enemy Vito Genovese, or if it wants to skewer the entire genre of films they helped inspire. However, with Robert De Niro in both leading roles, there’s always something interesting to watch, even if it’s buried by mountains of repetitive dialogue.